Rossini: La Donna del Lago

Joyce DiDonato
Juan Diego Flórez
Daniela Barcellona
John Osborn
Oren Gradus

Conductor: Michele Mariotti
Director: Paul Curran

The Metropolitan Opera

*Opera Magazine Disc of the Month (February, 2016)

Joyce DiDonato is the world’s greatest living mezzo-soprano, thrilling audiences with, and garnering universal critical acclaim for, her expression, stagecraft, and flawless technique. The reception of her performances in the Paul Curran production of Rossini’s La Donna del Lago for the Metropolitan Opera were no exception, and this DVD and Bluray release, whose stellar cast includes Juan Diego Florez, John Osborn and Daniela Barcellona, cements this as a signature role for DiDonato. –Amazon.com

Reviews

“Ms. DiDonato sang Rossini’s beguiling phrases with soft yet penetrating richness, subtly folding ornaments and runs into the long melodic arcs . . . The aria eventually breaks into joyous bursts of dazzling coloratura passagework, with rousing exclamations from the chorus, and Ms. DiDonato delivered . . . It was good to have the stage so bright for Ms. DiDonato’s triumphant performance of “Tanti affetti.” Besides adding an important Rossini opera to the Met’s repertory, this production gives those who have only heard her sing that aria as an encore a chance to get to know the long opera that precedes it.”

Anthony Tommasini – The New York Times

“Joyce DiDonato emerges triumphant. It doesn’t take much courage to tell the listening public that DiDonato is among the world’s greatest singing actors of any voice type; on Monday she was beyond perfect. Given the opportunity to introduce a major role to the Met’s audience, she gave a performance that may ultimately stand as a high point in her already lofty career. What we heard was one of the world’s best voices in top form—her tone was pure honey, her coloratura effortlessly fluttering, her ornamentation fearless.”

Eric C. Simpson – New York Classical Review

“Vocally she is at the top of her game. Technically a mezzo, her range is such that she can easily take soprano roles and soar. She is also a first-rate actress, convincing both as the maiden in love we first meet and as the reluctant bride-to-be. Her smile alone would melt any king’s heart.”

Wilborn Hampton – Huffington Post

“Joyce DiDonato as the much sought-after heroine is, as always, in tremendous form, no only master of all the required skills, but a sensitive actor and altogether one of the great operatic stars of the present . . . Lovers of this operatic repertoire could wish for no more. And anyone who doubts that Rossini was capable of powerful, serious drama should see this and find themselves revising their opinion.” Performance: ★★★★★

Michael Tanner – BBC Music Magazine

“. . . and in every other respect – musicianly authority, ease and accuracy in lines of fast-moving agilità, unfailingly attractive characterization and naturalness of stage deportment – this Elena, self-gathered flowers in hand, adds up to a remarkably complete and precisely-composed portrayal . . .”

-Opera Magazine

“. . . a prestigious cast, in which its absolute queen is Joyce DiDonato.

Better than June Anderson, who could present a certain coldness and a clearly insufficient focus in the low range, the American mezzo-soprano here is working in a range ideally suited to her voice. Facing the most readily apparent and formidable pitfalls, her Elena is lively, sensual and passionate, and is similar to the character of Fiona portrayed by Cyd Charisse in Brigadoon, a magical film from Vincente Minnelli.”

{. . . au sein de cette équipe de prestige, qui trouve en Joyce DiDonato sa reine absolue.

Mieux que June Anderson, à qui l’on pouvait reprocher une certaine froideur, ainsi qu’une assise nettement insuffisante dans le grave, la mezzo-soprano américaine évolue ici dans un domaine convenant idéalement à sa voix. Affrontant sans difficulté apparente les plus redoutables écueils, son Elena vive, sensuelle et ardente, n’est pas très éloignée de la Fiona qu’interprétait Cyd Charisse dans Brigadoon, film magique de Vincente Minnelli.}

Pierre Cadars – Opéra Magazine

The central trio . . . are completely inside their roles . . . DiDonato's technique is scintillating in the opera's rondo finale, where pyrotechnics are ignited . . .

Gramophone Magazine